Press release

SIGNAC AND COLOUR HARMONIES

26 MARCH–19 JULY 2021

In 2021, the Musée Jacquemart-André will focus on the oeuvre of Paul Signac (1863–1935), the master
of landscape painting and the principal theoretician of neo-Impressionism, with an exhibition of
seventy works held in the finest collection of privately-owned neo-Impressionist works.
Alongside twenty-five of his paintings, such as Bow of the Boat (1888), The Beacons at Saint-Briac (1890),
After the Storm, Saint-Tropez (1895), Avignon. Matin (1909), and Juan-les-Pins, The Evening (1914) and
twenty watercolours, the exhibition will feature more than twenty works by Georges Seurat, Camille
Pissarro, Maximilien Luce, Théo Van Rysselberghe, Henri-Edmond Cross, Louis Hayet, Achille Laugé,
Georges Lacombe, and Georges Lemmen.

The entire exhibition will be based on a chronological itinerary, starting with the first Impressionist
pictures painted by Signac under the influence of Claude Monet, followed by the brightly coloured
works created by the artist in the twentieth century, including his encounter with Georges Seurat in
1884. The exhibition, which will retrace Signac’s life and his work to liberate colour, will also explore the
history of neo-Impressionism.

As an introduction, a room will be devoted to the presentation of the neo-Impressionist movement.

The encounter with Georges Seurat will be evoked by two rare pencil drawings and a presentation of
the movement’s principal artists—Camille Pissarro, Henri-Edmond Cross, Maximilien Luce, and Théo
Van Rysselberghe—will be illustrated by portraits (Portraits of Georges Seurat (1890), Camille Pissarro
(1895), and Henri-Edmond Cross (1898) by Maximilien Luce; a Portrait of Maximilien Luce (1890) by
Signac; and a Self-Portrait (1916) by Théo Van Rysselberghe). Saint-Briac. Le Béchet (1885) will
highlight Signac’s Impressionist beginnings and the visitor will see how the artist’s technique developed
with Fécamp. Sun (Fécamp. Soleil, 1886), and in particular in Bow of the Boat (Avant du Tub, 1888) and
The Beacons at Saint-Briac (Saint-Briac. Les Balises,1890), his first neo-Impressionist works.
Then, a large section will focus on Signac’s first neo-Impressionist paintings, followed by the Saint-
Tropez period, where he decided to spend the summer each year from 1892 to 1913. The works
painted in Paris and Brittany contrast with the brightly coloured pictures inspired by the Midi. The
exhibition will illustrate the painter’s stylistic development, which gradually freed itself from Seurat’s
theories to take neo-Impressionism in the direction of an increasingly colourful form of pictorial expression.
Signac strove to promote the movement and the works of his confrères will be displayed in the heart
of the exhibition. The most famous of these works—-by Pissarro, Van Rysselberghe, Cross, and Luce—
will hang alongside those by Louis Hayet, Georges Lemmen, Georges Lacombe, and Achille Laugé,
artists whose works most of the visitors will see for the first time. Hence, the latter will be able to
appreciate the varied aspects of neo-Impressionism, interpreted by very different artistic figures via
works such as Louis Hayet’s At the Café (1887–1888), The Delafolie Brickworks at Éragny (1888) by
Camille Pissarro, Théo Van Rysselberghe’s Kalf’s Mill in Knokke (1894), and The Choppy Sea (circa
1902–1905) by Henri-Edmond Cross.

In the last three rooms of the exhibition, the museum will exhibit Signac’s twentieth-century works. A
fine ensemble of pictures will illustrate the artist’s stylistic evolution based on contrasting colours and
an increasingly free orchestration of his chromatic compositions. Through his innovative approach,
Signac paved the way for a new generation of Fauvist, Futurist, and abstract artists. At the time, he
painted many watercolours and a selection of these works will underline the fact that they had an
increasingly important role to play in his work.
THE ARTISTIC PROJECT TEAM

Curatorship:

Marina Ferretti helped to prepare Paul Signac’s Catalogue Raisonné, which was published in 2000 by
Françoise Cachin, and was in charge of the Archives Signac from 1985 to 2012. From 2003 to 2009,
she worked at the Mairie of Le Cannet and was responsible for setting up the Musée Bonnard.
Appointed scientific director of the Musée des Impressionismes at Giverny in 2009, she continued in
this post until her retirement in 2019. A specialist in the work of Signac and neo-Impressionism, she has
curated many exhibitions, in particular ‘Signac’ (the Grand Palais, Paris; the Vincent van Gogh
Museum, Amsterdam; and the Metropolitan Museum of Art, New York, 2001); ‘Paul Signac’ (Fondation
Pierre Gianadda, Martigny, Switzerland, 2003); ‘Le Neo-Impressionism. De Seurat à Paul Klee’, with
Serge Lemoine (the Musée d’Orsay, Paris, 2005); ‘Neo-Impressionism, from Light to Color’ (the Abeno
Harukas Art Museum, Osaka, and Tokyo Metropolitan Art Museum, 2014) and ‘Signac, les couleurs de
l’eau’ (the Musée des Impressionisms, Giverny, and the Musée Fabre, Montpellier, 2013). She is also
the author and editor of many catalogues and publications, notably Signac Aquarelliste (2001) and
L’Impressionism (in the collection ‘Que sais-je ?’, 2005).

Pierre Curie is a Chief Heritage Curator. A specialist in seventeenth-century Italian and Spanish
painting, he has also studied French nineteenth-century painting at the Musée du Petit Palais, where
he began his career as a curator. Subsequently responsible for painting in the Inventaire Général, he
co-wrote and compiled the Vocabulaire typologique et technique de la peinture et du dessin
(published in 2009). Appointed head of the painting section in the restoration department at the
Centre de Recherche et de Restauration des Musées de France in 2007, he has coordinated several
major painting restoration projects in national museums (works by Leonardo da Vinci, Titian,
Rembrandt, and Poussin). Pierre Curie has been a curator at the Musée Jacquemart-André since
January 2016.

Production and creation:

This exhibition has been organised by Milly Passigli, Delegate Director of Cultural Programming, Agnès
Wolff, Cultural Production Manager, Éléonore Lacaille, Head of Exhibitions at the Musée Jacquemart-
André, Amélie Carrière, Director of Exhibitions at the Musée Jacquemart-André, and Livia Lérès and
Bérangère Renard, who are responsible for iconography at Culturespaces.

Scenography:

Hubert le Gall, a French designer, artist, and contemporary art sculptor, has created original
scenographies for many exhibitions, and in particular at the Musée Jacquemart-André for the
following exhibitions: ‘Inside Rembrandt’s World’ (2016), ‘From Zurbarán to Rothko. The Alicia
Koplowitz Collection’ (2017), ‘The Hansens’ Secret Garden. The Ordrupgaard Collection’ (2017), ‘Mary
Cassatt: an American Impressionist in Paris’ (2018), ‘Caravaggio’s Period in Rome: his Friends and
Enemies’ (2018), ‘Hammershøi, the Great Master of Danish Painting’ (2019), ‘The Alana Collection’
(2019), and ‘Turner: Paintings and watercolours from the Tate’s Collections’ (2020).

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CONTENTS

Press release ......................................................................................................1

The exhibition itinerary ..................................................................................... 4

Key dates............................................................................................................ 16

Biographies of the other artists ........................................................................ 19

The Musée Jacquemart-André ..........................................................................24

Culturespaces ....................................................................................................25

The Culturespaces Foundation .........................................................................26

Images available for the press ......................................................................... 27

Alongside the exhibition ..................................................................................... 32

Practical information ........................................................................................... 33

Press kit – Signac and colour harmonies - 3

The exhibition itinerary

ROOM 1 – A NEW MOVEMENT IN THE WAKE OF IMPRESSIONISM

It was in 1880, after a visit to Claude Monet’s first solo exhibition, that Paul Signac decided to become
a painter. The admiration he had for his illustrious predecessor was decisive for the young self-taught
artist, who started out his career by adopting an Impressionist approach. This is evident in the vigorous
strokes and the luminous colours in his first works (Palette. Public Garden and Saint-Briac. Le Béchet)

In 1884, Signac took part in the founding

of the Société des Artistes Indépendants,
united by the desire to hold an annual
Salon ‘without jury or awards’. At this
point, he became friends with Georges
Seurat and together they studied the
chemist Eugène Chevreul’s work on the
perception of colours.

During the winter of 1885–1886, Seurat

was the first artist to apply the principle of
the division of colours, by juxtaposing
small strokes of pure colour on his canvas
and leaving the viewer’s eye to optically
blend the individual colours. Synthesising
the lines of landscapes in remarkably
simple canvases (Bow of the Boat and The
Beacons at Saint-Briac), Signac adopted this
new technique, as did Camille Pissarro.

Pissarro, whom he met in 1885, opened the way for young artists to participate in the eighth exhibition
of Impressionist painting in 1886. Brought together in the last room, their canvases created an effect
of novelty. The adjective ‘neo-Impressionist’ was coined by the critic Félix Fénéon in September 1886.
The principle of the division of tone became widespread and it was adopted by many painters, such
as Maximilien Luce, Henri-Edmond Cross, and Théo Van Rysselberghe, who became one of the
principal proponents of neo-Impressionism in Belgium.

Paul Signac, Palette. Public Garden, oil on the artist’s palette, 1882–83, 32 x 23.5 cm, private collection

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Paul Signac (1863–1935), Bow of the Boat (Opus 176), 1888, oil on canvas, 45 x 65 cm, private collection

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ROOM 2 – SIGNAC: THE EMERGENCE OF A DISTINCT STYLE

it was on the banks of the Seine that Signac

created a first series of neo-Impressionist
landscapes, including Sunset, Les Andelys
(Les Andelys. Soleil couchant), perhaps
working outdoors. But the technique of the
division of colour was hardly suited to
outdoor work, as several stages were
required to avoid mixing the pigments. The
artist, who had retained the Impressionist
sensibilities of his early career, continued with
his studies from nature and then created the
final composition in the studio. This
preparatory work, for landscapes
(Concarneau) and scenes from
contemporary life (The Dining Room), attest
to the free and direct approach that
preceded the production of more carefully
constructed compositions created in the
studio.

In 1892, Signac, who widely explored the Bretton coast and the banks of the Seine, discovered the
port of Saint-Tropez. This came as a revelation to the painter, as indicated by the chromatic scale in
the work Sunset over the City (Study). Over the next five years, Signac exclusively devoted his work to
Saint-Tropez, varying the viewpoints and effects. In 1893, he began work on an ambitious decorative
and philosophical composition intended to celebrate the life he led on the Mediterranean coast and
which he entitled In the Time of Harmony (Au temps d’harmonie). At this time, his technique evolved and he
used larger brushstrokes that gave the colours added impact, as attested in the works After the Storm, Saint-
Tropez (Saint-Tropez. Après l’orage) and The Fountain des Lices at Saint-Tropez (Saint-Tropez. Fontaine
des Lices).

In 1897, Signac travelled around

France and devoted a series of
pictures to Mont-Saint-Michel. While the
compositions were practically
unchanged, the chromatic scale
varied from one canvas to the next,
depending on the effects of the light,
depicted in Mont-Saint-Michel, Fog
and Sunlight (Mont-Saint-Michel. Brume
et soleil) by delicate pink monochrome
colours.

Paul Signac (1863–1935), Sunset, Les Andelys, 1886, oil on canvas, 32.8 x 46.1 cm, oil on canvas, private collection © Schaelchli-
Schmidt Zurich
Paul Signac (1863–1935), After the Storm, Saint-Tropez, 1895, oil on canvas, 65 x 81 cm, private collection © Schaelchli-Schmidt
Zurich

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ROOM 3 – A MULTIFACETED AVANT-GARDE

Alongside his artistic endeavours, Signac attempted to widely diffuse the technique of the division of
tone. He was called ‘the Saint-Paul of neo-Impressionism’ by Thadée Natanson, the founder of the
Revue Blanche, a literary and artistic publication with anarchist leanings. As an exhibition manager,
particularly at the Salon des Artistes Indépendants, who soon became the spokesman of the
movement, Signac had a decisive influence on the Parisian artistic scene. He willingly and
enthusiastically shared his knowledge of the fundamental principles of the division and contrast of
colour. The first generation of neo-Impressionist painters included figures whose objectives were
occasionally divergent. Camille Pissarro was the first of the painters to adopt Seurat’s divided strokes, in
rural landscapes such as The Delafolie Brickworks at Éragny and Flock of Sheep, Éragny-sur-Epte. But
he was also the first to abandon this approach circa 1890, no doubt pressurised to do so by his
dealer, Paul Durand- Ruel, the champion of Impressionism.
Aside from this group of artists, other artists rallied to the neo-Impressionist movement. Louis Hayet set
forth his own chromatic atlas, using mostly grey in Au Café. Working in isolation in his native region in
south-west France, Achille Laugé also developed a personal approach—which was rural and naïve in
inspiration—to the division of colour, of which The Flowering Tree was a vibrant example.

Camille Pissarro (1830–1903), The Delafolie Brickworks at Éragny, 1888, oil on canvas, 55 x 72 cm, private collection

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Achille Laugé (1861–1944), The Flowering Tree, 1893, oil on canvas, 59.4 x 49.2 cm, private collection

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ROOM 4 – A VIBRANT ARTISTIC SCENE

In March 1887, Signac, who was also a collector, purchased a picture by Maximilien Luce at the Salon
des Indépendants. This marked the beginning of a great friendship and Signac introduced Luce to the
principles of the division of tone. They not only understood each other on the artistic front but
politically too, because both painters had the same anarchist convictions. They were regular readers
of the journal La Révolte, in whose pages Signac published in 1891 an article that claimed that the
most revolutionary artists were those capable of inventing a new language.

Luce focused above all on scenes from

everyday life in Paris, as in Le Café.
During his stays in Belgium, he
discovered with fascination the world
of the steelworkers and created
flamboyant works such as The
Steelworks (L’Aciérie).

A source of inspiration for Luce,

Belgium was Georges Lemmen’s
homeland. A member of the group of
Les XX, an avant-garde circle
established in Brussels in 1883, he
exhibited his work at the same time as
the Indépendants in Paris and became
one of the Belgian followers of Seurat’s
theories. Seashore in Normandy (La
Promenade au bord de la mer),
characteristic of his subtle and delicate
art, was one of his most remarkable
early works, before he became
interested in the art of the Nabis, circa
1895.
Also aligned with the Nabis, Georges
Lacombe briefly adopted neo-
Impressionism, although he did not
restrict his technique to the scientific
rules of the division of tone. As attested
in The Bay of Saint-Jean-de-Luz, he
applied juxtaposed strokes of bright
colours. He also briefly experimented
with neo-Impressionism, paving the
way for a personal exploration of the
potential of colour.

Maximilien Luce (1858–1941), The Steelworks, 1899, oil on canvas, 92 x 73.3 cm, private collection

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ROOM 5 – ARTISTIC FRIENDSHIPS

Ever ready to become acquainted with other artists, Signac was surrounded by artists with whom he
established great friendships. Hence, as of 1892, he welcomed his friend Luce in Saint-Tropez, who was in
turn equally attracted to the small port in the Var. The champion of the working classes was inspired to
create luminous and harmonious compositions that featured popular figures. When he returned to a
more traditional approach in the mid 1890s, his friendship with Signac remained unchanged.

Henri-Edmond Cross, who in 1891 was a late follower of neo-Impressionism, remained committed to
the movement until his death in 1910. He became Signac’s friend, and to some extent took over
Seurat’s role after the latter’s death in March 1891, and became one of the movement’s major figures. The
exchanges between both artists were decisive during the writing of D’Eugène Delacroix au neo-
Impressionism, Signac’s theoretical treatise that was published in 1899. Cross too was very inspired by
the landscapes of the Midi, where he moved in 1891, and he used pure colours that he applied in
broad strokes.

Henri-Edmond Cross (1856–1910), Landscape with Cap Nègre, June–November 1906, oil on canvas, 90.3 x 116.9 cm, private collection© Schaelchli-Schmidt Zurich

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Théo Van Rysselberghe shared the same combat as Signac, one active in Paris, and the other in
Brussels, at the Salons des XX then at La Libre Esthétique. Known essentially for his talent as a
portraitist, Van Rysselberghe also excelled at landscape painting, which attests to a remarkably
synthetic art, often influenced by Japonisme. Due to his decisive influence, Belgium became the
second homeland of neo-Impressionism.

Théo Van Rysselberghe (1862–1926), Kalf’s Mill in Knokke (Windmill in Flanders), 1894, oil on canvas, 80 x 68.5 cm, private collection

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ROOM 6 – SIGNAC AND THE APPEAL OF WATERCOLOURS

When he discovered Saint-Tropez for the first time, in 1892, Signac painted his first watercolours. This
technique, which he increasingly used in his work, enabled him to work outside and gather
information that he could later use in the studio.

Signac, who particularly enjoyed working outdoors, did so as often as he could. He created
independent watercolours, of a rare mastery and delicacy, considering them as finished works—such
as Antibes—, which he exhibited as such. He worked on various formats and supports, and painted
refined fans, with iridescent and flamboyant colours.

Producing his own catalogue, he executed delightful ‘portraits’ of his pictures, accompanied by their
titles, dates, and locations. He reproduced his watercolour compositions, before reworking them in
ink, as attested by the sheet that echoes the famous work Avignon. Morning, exhibited in room 8.

Paul Signac (1863–1935), Antibes, 1910, watercolour, India ink, and graphite on paper, 32 x 44.2 cm, private collection

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Paul Signac (1863–1935), Avignon. Matin (le Palais des Papes), 1909, graphite, India ink, gouache, and watercolour, 21 x 26 cm, private collection

Paul Signac (1863–1935), Avignon. Matin, 1909, oil on canvas, 73.5 x 92 cm, private collection © Schaelchli-Schmidt Zurich

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ROOM 7 – SIGNAC, IN SEARCH OF NEW MOTIFS

At the turn of the century, Signac became a

figure of the Parisian artistic scene and several
galleries devoted monographic exhibitions to
the artist, in 1902, 1904, and 1907. He also
achieved international success and his works
were regularly exhibited in Brussels, Vienna,
and Germany. An inveterate traveller, he
pursued his quest for new motifs. A painter of
water, colour, and light, he decided to visit
the great European ports and, above all,
Venice, where he stayed in 1904 and 1908.
The Serenissima inspired him to create
polychrome compositions, including the
dazzling Rainbow, Venice, in which the
colours of the prism are arranged in
sumptuous bouquets.

At the same time, Signac’s graphic work became richer, as the artist adopted different approaches
and techniques. As of 1907, he executed large India ink washes, such as Flood at the Pont Royal.
Paris. Veritable preparatory cartoons executed according to the traditions of classical painting, they
were used as preludes to the creation of his paintings. Although he was a champion of colour, Signac
also enjoyed working with the contrast of black and white, which he mastered with equal talent.
When working outdoors, the artist preferred to work with watercolours, a technique he had
assiduously practised since 1892 and which he increasingly used in his oeuvre. Signac’s last major
project focused on the series of ports of France, which comprised more than two hundred
watercolours representing around one hundred ports. Thanks to this fascinating record created
between 1929 and 1931, we are now able to follow his daily progress along the shores he visited, from
Sète to Menton and Dunkirk to Concarneau.

Paul Signac (1863–1935), Rainbow, Venice, 1905, oil on canvas, 73.7 x 92.3 cm, private collection © Schaelchli-Schmidt Zurich
Paul Signac (1863–1935), Nice, 2 May 1931, watercolour, gouache, and black chalk on laid paper, 27.3 x 43.2 cm, private collection

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ROOM 8 – SIGNAC, THE LIBERATION OF COLOUR

As of 1895, Signac’s art shifted towards the

liberation of colour, which increasingly
moved away from the observed motif.
Inspired by Turner, whose works he
discovered on a trip to London in 1898, the
artist pursued his quest: ‘one must be
liberated from any idea of imitating and
copying nature, and (…) one must create
tints’, he noted in his diary. Hence, the artist
gradually shifted away from naturalism
and adopted two complementary
approaches to the composition of his
works.

The first approach consisted of choosing a

dominant colour applied in a broad range
of nuances to structure the painting. The
works Signac created using this technique
were generally monochrome, such as
Antibes. Morning, Marseille. An Old Port,
and Avignon. Morning, characterised by
pink harmonies, which evoke morning
light. In contrast, Signac worked on other
paintings using bold polychromy. In these
works, the colours were detached from reality;
the painter’s imagination and the
arrangement of the forms were subjected
to rigorous equilibrium, which was inspired
by classical landscapes. The composition
Sainte-Anne (Saint-Tropez) and that of
Juan-les-Pins. The Evening (first version)
both reflected the same quest for
symmetry.

The First World War brought this impetus to a sudden halt. A committed pacifist, Signac was
profoundly depressed by the events and his artistic output was drastically affected. After the war, the
artist resumed his activities at the Salon des Indépendants and travelled around France in his car, in
his ongoing quest to find new motifs.

Paul Signac (1863–1935), Juan-les-Pins. The Evening, 1914, India ink wash, 72.3 x 90.1 cm, private collection
Paul Signac (1863–1935), Juan-les-Pins. The Evening (first version),1914, oil on canvas, 73.5 x 92.5 cm, private collection

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Key dates

PAUL SIGNAC (1863–1935)

11 November 1863: Paul Signac is born in Paris.

June 1880: He visit’s Claude Monet’s first solo exhibition and decides to become a painter.

1882: He makes Impressionist studies in Asnières, then at Port-en-Bessin.

15 May 1884: Exhibition of the group of Artistes Indépendants, where he met Georges Seurat.
Together, they participate in founding the Société des Artistes Indépendants.
With Seurat, Signac studies theories of the perception of colours and seeks a meeting with the chemist
Eugène Chevreul.

10 December 1884: First exhibition of the Société des Artistes Indépendants is held. Signac, a founding
member, devotes himself henceforth to holding the Société’s exhibitions.

Spring 1885: Signac meets Camille Pissarro. He visits the Eugène Delacroix exhibition at the École des
Beaux-Arts.

August 1885: Charles Henry publishes his ‘Introduction to a Scientific Aesthetic’ in the Revue
Contemporaine.

Winter 1885–1886: Seurat entirely reworks La Grande Jatte, covering it entirely with small strokes of pure colour.
Camille Pissarro and Signac subsequently adopt the new painting technique.

15 May–15 June 1886: The eighth exhibition of Impressionist painting. Thanks to the support of Camille
Pissarro and Berthe Morisot, Seurat and Signac take part in the exhibition. The first ‘neo’ works are
brough together in the last room.

Summer 1886: First series of neo-Impressionist paintings of Les Andelys.

19 September 1886: The term ‘neo-Impressionist’ is introduced in an article by Félix Fénéon.

February 1887: Signac meets Théo Van Rysselberghe at the Salon des XX in Brussels; the latter joins the
movement the following year.

March 1887: Signac buys a picture by Maximilien Luce. This marks the beginning of their friendship. Luce adopts
the technique of the division of colour.

1890: Signac visits the major exhibition devoted to Japanese engraving at the École des Beaux-Arts.

1890: The artist stays in Saint-Briac.

20 March 1891: Opening of the seventh exhibition of the Indépendants: Henri-Edmond Cross shows his first
neo-Impressionist work.

29 March 1891: Death of Georges Seurat.

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1891: He stays at Concarneau.

Mid May 1892: Sailing on his yacht

Olympia, Signac docks in the port of
Saint-Tropez, where he stays every
summer. He paints his first
watercolours.

7 November 1892: Signac marries

Berthe Roblès.

December 1892: Inauguration of the

first exhibition of neo-Impressionist
painting in the salons of the Hôtel
Brébant in Paris.

1893: Signac begins thinking about a

major decorative work, In the Time of
Harmony, which he works on until 1895.

1894: Signac takes part in the first

Salon de la Libre Esthétique in Brussels.

1894: Inspired by Eugène Delacroix’s

diary, Signac decides to write his own
diary.

1895: He abandons the closely applied

brushstrokes of his early works and
adopts broader strokes. In Saint-Tropez,
he rents the Villa La Hune, which he
buys in 1897.

1897: He moves into a new Parisian apartment at the Castel-Béranger, built by the architect Hector
Guimard, at 14 Rue La Fontaine in the 16th arrondissement.

1897: He stays in Mont-Saint-Michel.

1898: The Dreyfus Affair: Signac signs a petition in support of Émile Zola.

1898: He stays in London and sees Turner’s works.

1899: Publication of the work Eugène Delacroix au neo-Impressionism, which was already partly
published in La Revue Blanche in 1898. Often republished, the text is read by an entire generation of
artists fascinated by colour theories.

10–31 March 1899: An exhibition in the Galerie Durand-Ruel features the work of the neo-
Impressionists, the Nabis, and Odilon Redon. This marks the beginning of his success.

Signac on his cutter Olympia, 1895 © Archives Signac, Paris

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1902: First monographic exhibition in the Galerie Bing.

1904 and 1908: Stays in Venice.

13-31 December 1904: Paul Signac exhibition at the Galerie Druet

1907: Paul Signac exhibition held in the Galerie Bernheim-Jeune managed by Fénéon. Henceforth, the
gallery supports Signac’s work.

1908: Signac is appointed President of the Société des Artistes Indépendants.

16 May 1910: Death of Cross; the pace of Signac’s work slows down.

September 1913: Signac moves to Antibes

with the painter Jeanne Selmersheim-
Desgrange, who gives birth to their
daughter Ginette.

1914–18: A pacifist, Signac is profoundly

depressed by the war.

1919: Signac rents a new apartment in Paris,

at 14 Rue de l’Abbaye. He participates
again in the exhibitions held by the
Indépendants, where he exhibits several oil
paintings each year. Henceforth, he travels
around France and focuses on painting
watercolours.

1922: Lucie Cousturier, a neo-Impressionist

painter, produces the first monograph
devoted to Signac published by the Éditions
Crès.

1926: Signac holds the exhibition ‘Trente ans

d’Art Indépendant’, which highlights the
role played on the artistic scene by the
Société des Artistes Indépendants.

1929–1931: He paints a series of watercolours

devoted to France’s ports.

15 August 1935: Signac passes away in Paris at the age of

seventy-two. He is cremated at the Colombarium in the Père-Lachaise Cemetery.

Maximilien Luce (1858–1941), Portrait of Paul Signac, circa 1925, charcoal drawing on paper, 20.8 x 15.7 cm, private collection

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Biographies of the other artists
HENRI-EDMOND CROSS (1856–1910)

Henri-Edmond Cross was born Henri-Edmond-Joseph Delacroix in Douai, to a father who was an
ironmonger and an English mother. A talented draughtsman, he was the pupil of Carolus Duran for
short time in Lille in 1866, before enrolling at the Ecoles Académiques de Dessin et d’Architecture in
1878. In 1881, he moved to Paris, where he regularly exhibited his work at the Salon des Artistes
Français. To distinguish himself from Eugène Delacroix, he adopted the name of Henri- Edmond Cross.
He participated in the establishment of the Société des Artistes Indépendants in 1884 and met Paul
Signac as well as Georges Seurat. He contributed to the emergence of neo-Impressionism, but
continued to use traditional painting techniques until 1891, when he adopted the division of colours.
He exhibited his portrait of Madame Hector France, the future Madame Cross, with the title Portrait
de Mme H.F. (1891, the Musée d’Orsay, Paris). He met Signac, with whom he became friends and
moved to Cabasson in the Midi in the autumn of 1891, and had a house built at Saint-Clair near Le
Lavandou. The following year, Cross encouraged Signac to move to a house ,not far from there, in
Saint-Tropez.

In 1893, he painted The Evening

Air (L’Air du soir,1893, the Musée
d’Orsay, Paris), in emulation of
Signac, who began work on In the
Time of Harmony (1893–1895, Mairie
de Montreuil). Cross, whose
health was fragile—he was also
an introvert and a sensitive
individual—, was deeply inspired
by the natural environments of
the Mediterranean. He wrote to
the painter Charles Angrand in
1901: ‘Here, our beaches are
deserted. Elegance is found only
in the pine trees that rise from the
sand and in the delightful
crescent formed by the seashore.
How eternally beautiful it all is!"

At the turn of the century, his art

developed into a colourful lyricism that foreshadowed the
Fauves. Cross subsequently painted landscapes featuring female nudes imbued with pagan sensuality.
His first monographic exhibition was held in the Galerie Druet in 1905, followed by a solo exhibition at
the Galerie Bernheim-Jeune in 1907. His art was also well received in Germany, where he took part in
events devoted to neo-Impressionism. This marked the beginning of success for the artist, who lived in
Venice in 1903, then in Umbria, and in Tuscany in 1908. But, afflicted with cancer, he died in Saint-Clair
in 1910, at the age of fifty-four.

Henri-Edmond Cross (1856 – 1910), The Choppy Sea, circa 1902–1905, oil on canvas, 59 x 82 cm, private collection

Press kit – Signac and colour harmonies - 19

GEORGES LACOMBE (1868–1916)

Born into an affluent family from Versailles, Georges Lacombe began to take an interest in the arts towards
the end of his schooldays and he was encouraged an artistic career by his parents. He was advised by his friends and
attended courses in the free academies. He soon joined a small artistic colony in Camaret, in Brittany, with
the novelist Gustave Toudouze, the painter Charles Cottet, the playwright Georges Ancey, and André
Antoine, the Director of the Théâtre-Libre.
Living between Brittany and Versailles, Lacombe took up sport, frequented the socialite salons, and
held musical evenings. His encounters with Paul Sérusier, and subsequently Paul Gauguin, in Paris during
the winter of 1893–1894, were decisive; Lacombe soon joined the other Nabis, particularly Paul Ranson. In
1893, he took part in their exhibitions at the Galerie Le Barc de Boutteville, submitting wood carvings.
He thus became known within the group as the ‘Nabi sculptor’.
In 1897, he married Marthe Wenger and the couple moved into L’Ermitage, a property located at
Saint-Nicolas-des-Bois, near Alençon, and the forest of Ecouves. Here they received their friends, who
decorated some of the rooms in the house. Nature and the forest became essential sources of
inspiration for the artist.
In 1901, he exhibited his work
alongside neo-Impressionist artists
and became friends with Théo Van
Rysselberghe. The following year the
Lacombe family spent some time in Biarritz
for Marthe’s health; The Bay of Saint-
Jean-de-Luz (Sainte-Barbe Coast)
attests to the evolution of his
approach which was confirmed
over the subsequent years.
Accompanied by Ranson, Lacombe
painted outdoors in the forest of
Écouves and, after a stay in the Midi
with Van Rysselberghe in 1905,
turned to neo-Impressionism,
although he did not abide by the
scientific rules of the division of tone.
Above all, he applied juxtaposed
strokes of bright colours over white
grounds. He exhibited his paintings
and sculptures at the Indépendants,
the Société Nationale des Beaux-
Arts, and the Galerie Bernheim.
In 1908, he taught sculpture at the Académie Ranson. A talented, all-round and generous artist, this
‘anachronistic medieval image-maker’ (in the words of Jean Vignaud) turned to working with bronze
and wrote poems. He suffered from tuberculosis, he died during the war at the age of forty-eight.

Georges Lacombe (1868 – 1916), The Bay of Saint-Jean-de-Luz (Sainte-Barbe Coast), 1902-1904, oil on canvas, 50 x 61 cm, private collection © Schaelchli-Schmidt Zurich

20 – Press kit – Musée Jacquemart-André

ACHILLE LAUGÉ (1861–1944)

An atypical figure in the French neo-Impressionist movement, Achille Laugé embodied the idea of a
provincial artist, who steered clear from the city and cared little for fame. He was born in the Aude
département, not far from Carcassonne, to a family of well-to-do farmers, whose modest income was
invested in his social ascension through his métier as a pharmacist. In Toulouse, he soon abandoned
farming and enrolled at the École des Beaux-Arts. He subsequently continued his training in Paris, in
1881.
In the grey and cold capital, there was a sense of solidarity between the various provincial artists;
Laugé, from Carcassonne, accommodated Antoine Bourdelle, from Montauban, in his garret, and
worked in the studio of Aristide Maillol, who came from Perpignan; lasting friendships were forged.
Laugé and his comrades, disappointed with the traditional training at the Beaux-Arts, visited the Salon
des Indépendants in 1886 and discovered Seurat’s ‘Manifesto Painting’; they were amazed by this
and many fervent discussions ensued.
But it was only after he returned to his native province in 1888, that Laugé began to experiment with
the division of tone. Working alone, observing the dazzling southern light, he radically transformed his
approach to painting. Laugé reformulated in his own way, with a certain empiricism, what he had
learned from the theory of colours of Seurat and Signac, although he had probably never met them.
This is what made his art so unique and personal, as it was far from being ‘in the manner of’ and
expressed his own sensibilities, and his highly personal intuitive use of colour. He painted landscapes,
as well as still lifes and portraits, an original approach in the French Divisionist movement.
His very pure technique was not accepted in his circle and the works he submitted to the Parisian
Salons were rejected or criticised. Circa 1905–1910, he adapted his technique, painting with more
expressive strokes, while continuing to restrict his palette to pure colours. During the 1920s and ‘30s, he
stayed in Collioure and devoted himself to working with pastels, a medium in which he excelled. He
died in 1944, having worked throughout his life, pushing his mobile studio around his village when he
wished to paint outdoors.

GEORGES LEMMEN (1865–1916)

Born in 1865, Georges Lemmen was the son of an architect from Brussels. After his training at the
Académie des Beaux-Arts in Saint-Josse-ten-Noode, he soon adopted the ideas of the innovative
movements in Belgian painting. He was a member of L’Essor in Brussels from 1883 to 1886, along with
James Ensor and Fernand Khnopff. In 1888, he became a member of the Cercle des XX, where he
regularly exhibited his work until 1893; he then remained loyal to La Libre Esthétique, which
succeeded Les XX in 1894.
He exhibited at the same time as the Indépendants in Paris and became one of the Belgian followers
of Seurat, whose work was exhibited in Brussels by Les XX. Walk on the Shore (Promenade au bord de
la mer) was typical of his understated, subtle, and delicate work. Landscapes are even rarer in his
oeuvre than portraits and intimate domestic scenes, whose sensibilities and vibrant colours attest to
the influence of Bonnard and Vuillard.
Georges Lemmen’s uniqueness lay in his active involvement in the applied arts. He produced several
exhibition catalogues for Les XX and La Libre Esthétique, designed posters, and created prints, as well as
tapestries, wallpaper, and ceramics. A great admirer of Walter Crane and the Arts & Crafts
Movement, whose ideas he vigorously defended in the review L’Art Moderne, he travelled to England
with Willy Finch; his oeuvre is a fine illustration of the promotion of the decorative arts within Belgian Art
Nouveau. With Henry van de Velde, he contributed to the refurbishment and decorations of the
Smoking Room for the apartment in Siegfried Bing’s gallery in Paris, L’Art Nouveau. He excelled in the
field of book illustration and ornamentation; he contributed to every stage, even helping to create
the papers used for the bindings. In 1908, he invented a new typographic character for a luxury
edition, designed for Count Harry Kessler: Nietzsche’s Thus spoke Zarathustra. Lemmen demonstrated
his ability to shift from the convolutions of Art Nouveau to art deco’s geometric sobriety.
It was only later that he enjoyed wealth, shortly before his death during the First World War, at the age
of fifty.
Press kit – Signac and colour harmonies - 21
GEORGES SEURAT (1859–1891)

Georges Seurat was born in Paris to a family that belonged to the minor Parisian bourgeoisie. At the age
of sixteen, he left school and enrolled at the École Municipale de Dessin; he subsequently joined Henri
Lehmann’s studio at the Ecole des Beaux-Arts in 1878. He complemented his training by reading
Charles Blanc’s La Grammaire des Arts du Dessin. He exhibited his work at the 1883 Salon and
became well known for his remarkable drawings using Conté pencils, in which the forms were not
created by outlines but rather by opposing areas of shadow and light.

The following year, Seurat, who was rejected by the Salon Officiel, took part in the first exhibition held
by the Groupe des Artistes Indépendants, where he exhibited Bathers at Asnières (Une baignade,
Asnières,1884, National Gallery of Art, London). The large painting, which created a sensation, was
inspired by contemporary life. Its matt and light tones as well as the static composition attest to the
influence of Puvis de Chavannes.

It was during the meetings that preceded the establishment of the Société des Artistes Indépendants
that he met Paul Signac, who became one of his few friends. Signac influenced him with his taste for
Impressionist painting and both of them studied the theories of the perception of colour established
by Eugène Chevreul, Ogden Rood, and David Sutter. In 1885, they also became interested in the
work of Charles Henry, who wrote the ‘Introduction to a Scientific Aesthetic’.

Seurat’s artistic admirations, readings, and pronounced taste for modernity were expressed in his work
A Sunday Afternoon at the Island of La Grande Jatte (1884–1886, The Art Institute, Chicago). For the
first time he applied the theory according to which the viewer’s eye blended the colours applied in
small strokes juxtaposed on the canvas. Hence, this optical blending was intended to be to superimposed
over a mixture of tones on the palette. Exhibited at the last and eighth exhibition of the Impressionist
group in 1886, La Grande Jatte immediately became the neo-Impressionist movement’s ‘Manifesto
Painting’.

At this time, Seurat alternated the series of seascapes painted over the summer during stays on the
northern coast with the large figurative compositions painted in Paris during the winter. Henceforth, the
artist regularly produced masterpieces, but the artist died suddenly in 1891, several days after the opening
of the Salon des Indépendants.

22 – Press kit – Musée Jacquemart-André

THÉO VAN RYSSELBERGHE (1862–1926)

Théophile Van Rysselberghe was born in Ghent to a well-off bourgeois family. In 1880, the young man
attended courses in the Académie des Beaux-Arts in his native town, then completed his artistic
training at the Academy in Brussels. In 1886, accompanied by his friend, the poet Emile Verhaeren, he
visited the eighth Impressionist exhibition in Paris, where he saw Georges Seurat’s A Sunday Afternoon
at the Island of La Grande Jatte (Un Dimanche après-midi sur l’île de la Grande Jatte, 1884–1886, The
Art Institute, Chicago).

The following year, the latter was invited to take part in the annual exhibition of Les XX in Brussels,
where Seurat once again presented La Grande Jatte. On this occasion, Paul Signac went with Seurat
to Belgium, where he met Van Rysselberghe. This marked the beginning of a long and fruitful
friendship. In Brussels, Van Rysselberghe actively participated in the organisation of the Salons des XX in
which he invited his friends in the neo-Impressionist group to exhibit their works. In Paris, Signac played
a comparable role within the Société des Artistes Indépendants and both painters were mutually
supportive of one another.

Encouraged by Signac, Van Rysselberghe adopted the technique of the division of colour in 1888,
the year he exhibited the Portrait of Alice Sèthe (1888, Musée Départemental du Prieuré, Saint-
Germain in Laye). A talented portraitist, he also painted remarkable synthetic landscapes. Van
Rysselberghe, his wife Maria Monnom, and his daughter Elisabeth moved to Paris in 1898, as did
Verhaeren. His Parisian friends, Edouard Vuillard and Maurice Denis, became interested in decorative
painting and, amongst the neo-Impressionist painters, Van Rysselberghe was the only one to obtain a
commission to create grand private decorations. The first of these, created in 1902 for the Hôtel Solvay
in Brussels, represented elegant female figures, harmoniously placed under ‘architectural’ foliage. The
artist also frequented literary cercles, particularly André Gide, who was a close friend of the Van
Rysselberghe family.

The painter gradually moved away from neo-Impressionism, which he definitively abandoned in 1908.
He subsequently painted less synthetic pictures and adopted a more classical approach, but his
palette resembled that of the Fauves. In 1910, Van Rysselberghe moved definitively to Saint-Clair,
near Lavandou in France’s Midi region.

Press kit – Signac and colour harmonies - 23

The Musée Jacquemart-André

© Culturespaces / C. Recoura

Open to the general public for more than a century, the Musée Jacquemart-André, a residence
owned by collectors at the end of the nineteenth century, houses many works of art created by
famous artists:
• The art of the Italian Renaissance: Uccello, Bellini, Mantegna, and Della Robbia.
• Flemish painting: Rembrandt, Hals, Ruysdaël, and so on.
• Eighteenth-century French painting: Boucher, Chardin, Fragonard, Vigée-Lebrun, and so on.

Legatee of this property in 1912 and the royal abbey of Chaalis, acquired by Nélie Jacquemart ten
years earlier, the Institut de France has endeavoured ever since to respect her will and ensure that as
many people as possible are able to see the museum’s collections. The Andrés assembled a
collection of almost 5,000 works in just a few decades. The couple, and later Nélie Jacquemart on her
own after the death of her husband, solicited the help of the best antique and art dealers, and travelled around
the world in search of rare objects, spending huge sums of money on acquiring works by the masters,
sacrificing lesser works in order to focus solely on the finest pieces, which made the Jacquemart-
André mansion into a museum of international standing.

Presidency of the Fondation Jacquemart-André: Xavier Darcos, Chancellor of the

Institut de France.
Conservation of the Fondation Jacquemart-André: Alain Pasquier, member of the
Institut de France.
Conservation of the Musée Jacquemart-André: Pierre Curie, curator, and Hélène Echiffre, conservation assistant.

The Institut de France:

The Institut de France was established in 1795 and is a non-profit organisation whose mission is to
provide five Académies (the Académie Française, Académie des Inscriptions et Belles-Lettres,
Académie des Sciences, Académie des Beaux-Arts, and Académie des Sciences Morales et
Politiques) with a harmonious framework for the promotion of literature, the sciences, and the arts. A
major sponsor, it encourages research and supports creative work through the award of prizes,
grants, and subsidies (more than twenty-three million euros are distributed every year via its sheltered
foundations). Under the aegis of the President of the Republic, it is also the guardian of a major
heritage, beginning with the Palais du Quai de Conti, four libraries, including the Bibliothèque
Mazarine, and many houses and collections bequeathed to the Institut since the end of the
nineteenth century. They include the Musée Jacquemart-André, the Château de Chantilly, the
Abbey of Chaalis, the Château de Langeais, the Manor of Kerazan, and the Villa Kérylos.
24 – Press kit – Musée Jacquemart-André
Culturespaces

With 30 years of experience and more than 4.5 million visitors per year, Culturespaces, founded in
1990 by Bruno Monnier, is the leading private operator in the management and promotion of
monuments, museums, and art centres. Since 2012, Culturespaces has also become a pioneer in the
creation of digital art centres and immersive digital exhibitions.

The sites promoted and managed by Culturespaces:

- the Bassins de Lumières in Bordeaux (since 2020)
- the Atelier des Lumières in Paris (since 2018),
- the Bunker de Lumières in Jeju (since 2018)
- the Hôtel de Caumont Art Centre, Aix-in-Provence (since 2015),
- the Carrières de Lumières at Les Baux-de-Provence (since 2012),
- the Maison Carrée, the Tour Magne, and the Nîmes Amphitheatre (since 2006),
- the Musée d’Art et d’Histoire and the Antique Theatre of Orange (since 2002),
- the Cité de l’Automobile in Mulhouse (since 1999),
- the Musée Jacquemart-André in Paris (since 1996),
- the Castle of Les Baux-de-Provence (since 1993),
- the Villa Ephrussi de Rothschild, Saint-Jean-Cap-Ferrat (since 1992).

Culturespaces oversees the promotion of the venues and collections, the reception of the general
public, the management of staff and all the services, cultural animation, the holding of temporary
exhibitions, and the sites’ national and international communication.
Aware of the importance of preserving the national heritage for future generations, Culturespaces
also contributes each year to funding restoration campaigns on the monuments and collections it
manages. Culturespaces, which focuses on visitor experience to promote cultural democratisation,
offers the highest standards in the reception of the general public:each venue is open seven days a
week, there are free audio guides, visitor applications, free activity books and Wi-Fi, and discounted
admission prices for families, young persons, and retired persons.

Under the aegis of the Fondation Agir Contre l’Exclusion, the Culturespaces Foundation promotes
access to art and the cultural heritage for children who are made vulnerable by illness, or suffer from
a handicap or poverty. Over a ten-year period, 17,000 children have benefitted from the cultural
initiatives of the Foundation, which has become a leader in France in terms of facilitating access to
the arts and culture for children who are excluded from them.

Press kit – Signac and colour harmonies - 25

The Culturespaces Foundation

THE CULTURESPACES FOUNDATION’S INITIATIVES AT THE MUSÉE JACQUEMART-ANDRE

In 2021, the Culturespaces Foundation is continuing with its initiatives at the Musée Jacquemart-André
via the educational and cultural programme ‘Architectures extraordinaires: les hôtels particuliers’
(‘Extraordinary architecture: mansions’).

Consisting of four phases, the programme includes an educational section involving games and
entertaining activities, a guided tour of the mansion, a creative workshop involving collaborative
work, and ends with a mini exhibition of the works created by the children.
The educational objectives are to enrich children’s general culture by acquainting them with the history
of art and architecture, developing their vocabulary, and stimulating their creativity.

This educational and cultural initiative is a free programme aimed at children between the ages of 6
and 11, from high-priority educational establishments, social organisations, and paediatric hospitals in
the Ile-de-France region. Thanks to this initiative, the Culturespaces Foundation will enable 1,000
children who have limited access to culture, as well as almost 200 indirect beneficiaries (teachers,
educators, parents, etc.), to enjoy a unique experience.

This programme is supported by:

About the Culturespaces Foundation:

To combat inequalities in access to culture, the

Culturespaces Foundation has been
developing educational programmes (since
2009) aimed at children who are made
vulnerable by illness, or suffer from a handicap
or social exclusion.
Thanks to tailor-made educational projects, the
Foundation helps the children discover a
universal historical and artistic heritage, to help
them develop through culture and become
a part of society. Entertaining and interactive
experiences are available in ten exceptional
cultural establishments, including the Atelier des
Lumières (Paris), the Hôtel de Caumont (Aix-in-
Provence), the Castle of Les Baux-de-Provence
© Culturespaces / François Reinhart

and the Nîmes amphitheatre.

By raising awareness about culture, art, and
heritage in an inclusive and engaging way, the
Culturespaces Foundation has succeeded in
reconciling solidarity and creativity. This singular
quality means that Culturespaces Foundation
has become a major actor in France in terms of
promoting artistic and cultural awareness for
vulnerable children.

The Culturespaces Foundation is under the aegis of the Fondation Agir Contre l’Exclusion (FACE).
26 – Press kit – Musée Jacquemart-André
 Images available for the press

1 2

3 4

5 6

1. Maximilien Luce (1858–1941), Portrait of Paul Signac, circa 1925, Charcoal drawing on paper, 20.8 x 15.7 cm, private collection

2. Paul Signac (1863–1935), Portrait of Maximilien Luce or Luce reading La Révolte (final version), 1890, Drawing with bamboo, ink
wash, watercolour, charcoal, and graphite, 26.8 x 20.3 cm, private collection

3. Paul Signac (1863–1935), Bow of the Boat (Opus 176), 1888, oil on canvas, 45 x 65 cm, private collection

4. Paul Signac (1863–1935), Application of Charles Henry’s Chromatic Circle (Théâtre-Libre programme of 31 January, 1889), 1888,
lithograph, 15.5 x 18 cm, private collection

5. Paul Signac (1863–1935), Sunset, Les Andelys,1886, oil on canvas, 32.8 x 46.1 cm, oil on canvas, private collection

6. Paul Signac (1863–1935), The Beacons at Saint-Briac (Opus 210), 1890, oil on canvas 63.8 x 80 cm, private collection © Schaelchli-Schmidt
Zurich

Press kit – Signac and colour harmonies - 27

 7 8

9 10

11 12

7. Paul Signac (1863–1935), Concarneau (study), 1891, Oil on panel, 15 x 25 cm, private collection

8. Paul Signac (1863–1935), Sunset over the City. Saint-Tropez, 1892, Oil on panel, 15.2 x 25 cm, private collection

9. Paul Signac (1863–1935), The Fountain des Lices at Saint-Tropez, 1895, oil on canvas, 65 x 81 cm, private collection © Schaelchli-Schmidt Zurich

10. Paul Signac(1863–1935), After the Storm, Saint-Tropez, 1895, oil on canvas, 65 x 81 cm, private collection © Schaelchli-Schmidt Zurich

11. Camille Pissarro (1830–1903), The Delafolie Brickworks at Éragny, 1888, oil on canvas, 55 x 72 cm, private collection

12. Achille Laugé (1861–1944), The Flowering Tree, 1893, oil on canvas, 59.4 x 49.2 cm, private collection

28 – Press kit – Musée Jacquemart-André

 14 14 15
13

16
17

19

18

13. Maximilien Luce (1858–1941), The Steelworks, 1899, oil on canvas, 92 x 73.3 cm, private collection

14. Théo Van Rysselberghe (1862–1926), Kalf’s Mill in Knokke (Windmill in Flanders), 1894, oil on canvas, 80 x 68.5 cm,
private collection

15. Georges Lacombe (1868–1916), The Bay of Saint-Jean-de-Luz (Sainte-Barbe Coast), 1902–1904, oil on canvas, 50 x 61 cm,
private collection © Schaelchli-Schmidt Zurich

16. Henri-Edmond Cross (1856–1910), Landscape with Cap Nègre, June–November 1906, oil on canvas, 90.3 x 116.9 cm,
private collection © Schaelchli-Schmidt Zurich

17. Henri-Edmond Cross (1856–1910), The Choppy Sea, Circa 1902-1905, oil on canvas, 59 x 82 cm, private collection

18. Maximilien Luce (1858–1941), Saint-Tropez, the Cemetery Road, 1892, oil on canvas, 54.3 x 65.1 cm, private collection

19. Paul Signac (1863–1935), Rainbow, Venice, 1905, oil on canvas, 73.7 x 92.3 cm, private collection © Schaelchli-Schmidt Zurich

Press kit – Signac and colour harmonies - 29

 21
20

22

23

25
24

20. Paul Signac (1863–1935), Juan-les-Pins. The Evening, (first version),1914, oil on canvas, 73.5 x 92.5 cm, private collection

21. Paul Signac (1863–1935), Juan-les-Pins. The Evening, 1914, India ink wash, 72.3 x 90.1 cm, private collection

22. Paul Signac (1863–1935), Sainte-Anne (Saint-Tropez), 1905, oil on canvas, 73 x 92 cm, private collection © Schaelchli-Schmidt Zurich

23. Paul Signac (1863–1935), Avignon. Matin, 1909, oil on canvas, 73.5 x 92 cm, private collection © Schaelchli-Schmidt Zurich

24. Paul Signac (1863–1935), Antibes, 1910, watercolour, India ink, and graphite on paper, 32 x 44.2 cm, private collection

25. Paul Signac (1863–1935), Avignon. Matin (le Palais des Papes), 1909, graphite, India ink, gouache, and watercolour, 21 x 26
cm, private collection

30 – Press kit – Musée Jacquemart-André

 26

28
27

29
30
26. Paul Signac (1863–1935), San Giorgio, Venice (fan), 1904, watercolour and graphite on silk on a panel, 30.5 x 71 cm, private
collection

27. Paul Signac (1863–1935), Nice, 2 May 1931, watercolour, gouache, and black chalk on laid paper, 27.3 x 43.2 cm, private collection

28. Paul Signac (1863–1935), Sunset (The Fan), circa 1905, watercolour, ink, and black chalk on paper, 14.3 x 10.8 cm, private
collection

29. Paul Signac, Palette. Jardin public, oil on the artist’s palette, 1882–83, 32 x 23.5 cm, private collection

30. Signac on his cutter Olympia, 1895 © Archives Signac, Paris

Press kit – Signac and colour harmonies - 31

Alongside the exhibition

THE CATALOGUE

As a complement to the exhibition, Culturespaces and Fonds Mercator are publishing a 176 pages
catalogue that includes all the works exhibited in the Musée Jacquemart-André.
On sale at €32 in the Musée’s cultural gift shop and online on:
www.boutique-culturespaces.com

SPECIAL EDITION

The special edition of Connaissance des Arts offers visitors an overview of masterpieces by placing
them in their historical and artistic context.
On sale in the Musée’s cultural gift shop and online on:
www.boutique-culturespaces.com

JOURNAL DE L’EXPO - BEAUX-ARTS MAGAZINE

The ‘Journal de l’expo’ Beaux-Arts magazine covers the key elements of the exhibition, illustrated in several
portfolios.
On sale for €5

APPLICATION: GUIDED TOUR

This application is available in French and English and enables visitors to discover the finest works in the exhibition
thanks to around twenty audio commentaries and the exhibition preview.

THE AUDIOGUIDE

An audio with a selection of major works is available in two languages (French and English).

AN ACTIVITY BOOK FOR THE YOUNGEST VISITORS

Given freely to each child (between the ages of 7 and 12) who visits the exhibition, the activity book
is a guide that enables the youngest visitors to observe, in an entertaining way, the major works in the
exhibition by solving various puzzles.

32 – Press kit – Musée Jacquemart-André

Practical information

ADDRESS

Musée Jacquemart-André, Propriété de l’Institut de France

158, Boulevard Haussmann - 75008 Paris
Telephone: + 33 (0)1 45 62 11 59
www.musee-jacquemart-andre.com

ACCESS

The Musée is located 400m from the Place Charles de Gaulle-Étoile.

Métro: lines 9 and 13 (Saint-Augustin, Miromesnil, or Saint-Philippe du Roule)
RER: RER A (Charles de Gaulle-Étoile)
Bus: 22, 43, 52, 54, 28, 80, 83, 84, and 93.
Carpark: Haussmann-Berri, near the museum, open 24/24.

OPENING TIMES

Open every day between 10 a.m. and 6 p.m. Late opening every Monday until 8:30 p.m. during exhibitions.
Le Café Jacquemart-André is open from Monday to Friday between 11:45 a.m. and 5:30 p.m.; Saturday
and Sunday from 11 a.m. to 5:30 p.m. Late opening on Mondays, until 6:30 p.m.
The cultural gift shop is open during the Musée’s opening times, including Sunday.

ADMISSION FEES

Tour of the collections and the temporary exhibition:

Regular admission: €15 I Senior rate: €14 over 65)
Discounted admission: €12 (students, ‘Pass Education’ card holders, and jobseekers)
Young person’s rate: €9.5 (7–25 yrs old) I Family admission: €43 (for 2 adults and 2 children from 7 to 17)

Free admission for children under the age of 7, the members and staff of the Institut de France, journalists, disability card
holders and their assistants, guides, and ICOM, ICOMOS, and SNELAC card holders.

PRESS CONTACT

Claudine Colin Communication

Damien Laval
+33 (0)1 42 72 60 01
damien@claudinecolin.com

Press kit – Signac and colour harmonies - 33

Musée Jacquemart-André,
Propriété de l’Institut de France
158, Boulevard Haussmann - 75008
Paris

Press contact:
Claudine Colin Communication
Damien Laval
+33 (0)1 42 72 60 01
damien@claudinecolin.com